The SC-SL9000 is a channel strip inspired by the Solid State Logic SSL 4000 mixer.  This article is intended to supplement the DAS User Manual by adding some application usage notes particularly for the six routing algorithms which were added for S|C users, as an expansion of the routing available on the original channel strip.
Being bundled with Scope 5.0, the S|C SL9000 can be regarded as a great starting point for mastering the use of channel strips on Scope, with the DAS SL9000 and C350 providing a logical upgrade path for users wanting a more professional level version.

As a first exercise with the S|C SL9000 device I decided to experiment with the creation of a gated snare sound.  Using some Equalization, Compression and the Gate I was able to obtain the desired effect shown below.  Setting Compression and Gate to 'Fast' ensured that the attack of the Snare was preserved.



1. DYN + EQ (Dynamics + EQ)

Use the DYN + EQ algorithm to ensure that the dynamics section is triggered and based on your input source material, with EQ and Filtering applied after.

2. SPLIT (Split)

Use the 'Split' algorithm to filter the input before triggering the dynamics section.  EQ is applied after Dynamics have been applied.  The filter is used first in the chain to 'split' out any unwanted frequencies from the upper and/or lower bands.

3. SPLIT + CH OUT (Split + Channel Out)

Possibly the simplest of the six algorithms as it follows the left-right top-bottom orientation of the effects on the GUI.

4. DYN SC (Dynamics Sidechain)

Use this algorithm to obtain that classic Phil Collins gated snare sound. This is called 'frequency conscious' gating, allowing control over the frequency of the sidechain used to trigger the gate.  Therefore the engineer will be able to 'hone in' on the attack on the target sound (e.g. snare) and filter out unwanted frequencies that may inadvertently trigger the gate (e.g. hi-hats). 

5. SPLIT + SC (Split + Sidechain)

Similar to DYN SC except that the Filtered signal is passed through the Dynamics section and on to output (rather than just used for the Side Chain).

6. CH OUT (Channel Out)

Similar to SPLIT + CH OUT but with EQ applied first.


Users should also check out the new improved DAS SL9000, provided free for previous purchasers and offering GUI and sound improvements over the Scope 5.0 bundled version.  See screenshot here.


XITE-1/4LIVE:  I use the SL9000 for the B2003 since I need a way to tame (limit) the drawbars.  Additive synthesis gangs up the decibels which doesn't occur on a real B3, so I use the compressor with a high ratio which really acts as a limiter.  Then the Gate is great for the percussion 3rd that lingers more than it should, and the Filter/EQ allows me to cut the highs with precision.  The SL9000 X is nice, but the DAS C350 is even better.  The compressor is more powerful and the EQ is like the MASTERIT's quality.  I will use the SL9000 X but when the C350 gets 64bit compatibility, Celmo's XMachine and C350 will be my choices.  The DAS Gate is the best gate for Scope period. You should try it if you like Gates. For an all in one approach though the channel strips are great. I have even used them in a post mixer pre ASIO Destination setting for great results.

LIQUID EDGE: I use the SL9000 as a pre amp for recording vocals.

ERIC: The two effects you need to record vocals (words or music) are Compressor / Limiter and Equalizer.  I use Compressor / Limiter and Equalizer when I record vocals, keeping in mind that I'm sound engineer and I use good hardware. But my advice is to try to avoid to use a limiter when you record, it is better to use Compressor / Limiter after the recording.

Dante, XITE-1/4LIVE, LIQUID EDGE and ERIC May 2011